A young girl’s fancy takes flight in Welton’s charming debut picture book. In a distant kingdom bursting “with rays of light,” the inquisitive Myrtle gets lost one day while out picking apples. With no way back to her home, she skitters across the clouds in search of help, wondering “What on earth will happen to me?” Luckily, the wind whisks Myrtle down to the ocean, where, thanks to a couple of savvy seagulls and one very cheerful sea turtle named Max, Myrtle gently lands on a magic carpet, safely on Max’s back, surrounded by a flood of friendly ocean animals.

Myrtle’s journey is every bit as fanciful as readers might hope, given her dreamlike descent to the ocean. Pham paints her adventures in sweeping strokes of aquamarine wonder, as Myrtle is flanked by otters, dolphins, and even a quizzical octopus, all curiously asking her “Where is your home? And who are you? You came here right out of the blue.” She adapts to her new surroundings quickly, making friends and sharing her dreams—an inspiration for younger readers facing unfamiliar situations—and that willingness to stretch her wings pays off big in the end.

Welton’s rhyming structure feels forced in places, but Myrtle’s charisma and sense of whimsy more than make up for it. “In my land, I wished to be queen,” she announces, giving birth to a spectacular cavalcade of briny fun, as she learns to swim with dolphins, frolics with flying fish, and pretends to be a turtle alongside Max—culminating with a dramatic ending that plays off Myrtle’s imagination and special fondness for sea turtles. Welton’s pearls of wisdom—to “see what happens when you believe”—are the perfect fit for this saltwater romp, and Myrtle’s eventual transformation will make even the youngest reader believe in the magic of imagination.

Takeaway: Dreamy aquatic adventure that stretches the imagination.

Comparable Titles: Patrick McDonnell’s Shine!, Amy Sparkes’s Once Upon a Wish.

Production grades
Cover: A
Design and typography: A
Illustrations: A
Editing: B
Marketing copy: A

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Composed of poems written over the course of 35 years, software engineer Kerl’s stormy debut collection offers a record of the poet’s life and emotional states from youth to middle age while also exploring the mysteries of cyclical time, all without, as the title suggests, wasting words. Kerl distills his history to essences in Brevity, allowing readers to absorb his life’s trajectory, structured here by shifts in attitude and perspective, from a discerning distance. “Younger, I had been a ghost moving through the world but not seen by it,” Kerl writes in “Touch” from 2006, but for readers, this metaphor has heightened significance—the younger ghost wails into the void not 30 pages prior.

In the striking “Not much” from 1989, Kerl writes “I was feeling like not much at all, except maybe a lifeless rock,” moving through the world listlessly, naming the stars pallid rather than brilliant. Thus concentrated, Kerl’s collection allows readers a far-removed overview effect of his life, something like seeing a photograph of Earth from the moon, and from the fresh perspective offered by the collection’s structure and approach, the concept of time both stretches and shrinks. That’s particularly true in Kerl’s six Perseid and Orionid meteor shower poems, which are dispersed throughout Brevity and mark the transformations and cycles of Kerl’s—and the cosmos’s—existence.

In these surprising and thought-provoking entries, the poet and the cosmos are united; Kerl’s words bridge human and asteroid and show that each is a body of stardust, just differently shaped. For Kerl, humanity is not insignificant and separate from the universe, but as necessary a part of it as gas giants and galaxies. In the collection’s penultimate poem “Kitchen,” which tenderly describes an “old and threadbare” kitchen rug worn by years of use, the speaker writes “say what you want,” about the tattered carpet, “it is the center of the world.” Everything matters, Kerl’s collection shouts, because everything contributes to “more irreplaceable brief sudden-bright moments such as this.”

Takeaway: Moody, reflective poetry surveying love, time, life, and the cosmos over 35 years.

Comparable Titles: Christopher Buckley’s “Perseid Meteor Shower,” Paul Smyth’s “Desert Watch”

Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A

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Debut novelist Lieman’s engaging narrative reads like a memoir but is the fictional account of Erik Bernstein and his self-examination of life and mortality. From the age of eleven, Erik has long pondered about death—and, as the story begins, Erik is watching his own funeral from the back of his synagogue. Burdened during life with overwhelming self-doubt, anxiety and shame, Erik has never felt as if he fit in anywhere, despite the friends he sees eulogizing him. Next, he’s transported to another world which might be Heaven, where he is soon issued an invitation to God’s house, inexplicably narrated by the beloved late Chicago Cubs broadcaster, Harry Caray. But rather than the Almighty, a short jester named Fate appears, calling himself God’s court jester.

Fate soon explains that situations that appear to be random instead were orchestrated by his machinations. “Many—not all—of those moments are creations of my imagination. They are designed to delight God,” Fate intones. A fellow traveler is shown the unlikely way he met his beloved wife of five decades; another received a promotion when the lost file he’d been fired for reappeared. And Erik is shown the many times during his life that he lost out by not making choices — when it’s too late to do anything about it. Or is it?

Lieman deftly illustrates the weight of mortality carried by all humans, and his polished, inviting prose allows readers to imagine themselves in similar situations. Indeed, he punctuates each chapter with a real-life unlikely situation—including a NICU nurse who cares for a baby and after twenty-eight years and across the country cares for that preemie’s own infant — all examples are footnoted at the end of his story. Anyone who has ever contemplated the meaning of life and its fleeting duration will find deep meaning in Lieman’s words.

Takeaway: This inspiring novel will have readers re-evaluating their own life choices.

Comparable Titles: Mitch Albom, Richard Bach.

Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A

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Debut novelist Young offers young readers a wild sense of wonder and adventure in this coming-of-age science fiction drama. At 16, Dayton Murdoch elevated himself through hard work to the rank of Survey pilot aboard the exploration ship he was born on, Venture. With only a handful of flying hours left until he earns a coveted Recon pilot designation, he finds his future bright. When Venture, supposedly still 4 years away from returning to Earth, undergoes an unexpectedly early re-entry, Dayton, his partner Zara, and the rest of the crew find themselves living in a very different world than the one they’d been living out amongst the stars.

What comes next is an exciting space-to-Earth coming-of-age story that relies on action to share a powerful message of adaptation and acceptance. Dayton is rudely introduced to Earth law and culture, stuck in Chuck Yeager High School until his 18th birthday. That means no more flying, and no more tight-knit camaraderie with his fellow pilots. The adjustment is difficult for the confident Dayton, who says, “A lot of you on the spacer side say I’m too much of an Earther. Then the Earthborn say I’m too much of a spacer.” When his father is recalled to active service in space, Dayton finds he must contend with an aunt who has very different ideals than the ones he grew up with. To top everything off, he’s head over heels for Allyson, a popular classmate.

With its stark focus on societal divides (with Griefers, neuros, and more), the novel shines a bright light on contemporary issues and plays on the classical literary themes of man vs self, man vs nature, and man vs other. The 1950’s-esque plot calls back to Heinlen’s Juveniles, and action-packed scenes will provide middle-grade readers with a delightful taste of science fiction without being overwhelmed by excessive character development.

Takeaway: Exciting coming-of-age SF story in space, on Earth, and inbetween.

Comparable Titles: Robert A. Heinlen’s Have Space Suit—Will Travel, Jennifer L. Holm’s The Lion of Mars.

Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: B
Marketing copy: A

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Roberts (author of Seven Thin Dimes) offers up a story of ambition, love, betrayal, and redemption as cybersecurity specialist Ted McCord faces the toughest days of his life. He and his wife Charlotte are in marriage counseling, his brother Jesse is having financial difficulties running the family ranch in Montana that Ted fled for the corporate life, and now Ted has just been fired and accused of embezzling money from his company and hiding it in an account under the name of his 5-year-old daughter. Soon the FBI is knocking on his door, while Charlotte feels at loose ends. Ted insists he’s didn’t do it, but Charlotte says, heartbreakingly, “I’m not so naive, Ted, that I can’t figure out it’s unlikely you’re totally innocent.”

Readers are taken through the cold sweat of Ted's nightmares: fear of being exposed, fear of being duped, fear of being left behind, and the fear of losing everything he holds dear as a result of a few desperate decisions. Roberts grounds the suspense in convincing human detail and relationships: Ted left the family ranch in Montana as a young man to seek out a life where he felt validated by titles, money, and upward mobility. When Ted confesses to Charlotte that everything about their life has come unwound, the couple are forced to face some hard truths: he’s been lying to her, their friends may not be who they think they are and there is a bigger scheme underway to destroy them both than either really knows.

The story is engaging and the characters and plot are both well-developed, though the "whodunnit" and "why" are fairly easy to deduce. Most every character is fairly flawed, in ways both touchingly human and sometimes disheartening, but the novel’s most moving when it reveals there’s more to these people than expected, as in a lovely exchange between Charlotte and the mother she considers cold and disapproving. Unexpected warmth and connection amid the suspense will keep readers turning the pages.

Takeaway: Tense story of the fallout in a marriage after a husband’s accused of embezzlement.

Comparable Titles: Michael Eon’s These Things Happen, Angela Terry’s Charming Falls Apart.

Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A

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Belasco offers readers a captivating and deeply moving glimpse into the world of the am’r, akin to vampires, in these three standalone novellas set in the world of her debut series, Blood & Ancient Scrolls. The collection delves into the backstories of side characters from the series, the first two recounted to the protagonist, Noosh, as she embarks on archiving the histories of the am’r. In "Teeth Are Bones," readers are transported to Haiti, where Zoraida and her lover and patar, Kgosi, fight for the liberation of their homeland amidst the backdrop of historical atrocities. "Blood Brothers" explores the enduring bond between Scottish am’r Dubhghall and Viking Norwegian am’r Wulfhram, forged through centuries of shared experiences. Lastly, "Abyssinia" follows the story of am’r woman Astryiah and her romantic relationship with Palmina in Prohibition-era Philadelphia, a story drawn from the life of Belasco’s grandmother as the protagonists aid women seeking abortions in a society unwilling to afford them support and services.

Readers will find themselves fully immersed in the vividly depicted world of the am’r as Belasco's intimate storytelling delves into intricate bonds of friendship, love, and resilience. Each novella offers a distinctive perspective and contributes depth to the overarching narrative of Blood & Ancient Scrolls while still proving welcoming to new readers. The exploration of historical settings and events adds urgency and variety, with engaging period detail never slowing narrative momentum. Belasco adeptly navigates themes such as love, loyalty, and trust throughout the novellas, resulting in three moving reads. A heart-to-heart between Astriyah and Palmina on death, life, blood, and Dracula pulses with feeling, while the range of milieus (and Belasco’s mastery of her world) yield a bounty of striking detail and situations.

Blood Triad is a must-read for fans of vampire fiction and historical fantasy, especially those who value meticulously researched narratives that deliver immersive world-building, nuanced character dynamics and diverse perspectives, and thought-provoking explorations of love and resilience.

Takeaway: Resonant, immersive historical vampire novellas with diverse themes.

Comparable Titles: Deborah Harkness's The All Souls Trilogy, Octavia Butler’s Fledgling

Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A

Click here for more about Blood Triad

Keefer offers readers a meticulous summary of the connection between hearing loss and chronic illness, the science behind contemporary hearing aids, and more in this informative debut. His passion for improving access to high quality hearing aids for the millions of Americans who struggle with hearing deficits is evident throughout, as he chronicles the basics while advocating for systemic change, drawing on his years of experience working in the healthcare and hearing industries. The advice is straightforward and relevant, and the stakes, Keefer argues, are high: “people with hearing loss have up to an astonishing 500 percent higher risk of long-term health issues like dementia, Alzheimer’s, and falls with broken bones.”

If that statistic doesn’t grab readers’ attention, it should. Keefer goes on to note that 80 percent of Americans suffering from hearing loss don’t employ hearing aids, chalking that choice up to three main reasons: barriers with Medicare insurance, substandard audiological care, and “human ego.” If health insurance won’t pay for hearing aids, he asserts, most individuals are forced to sacrifice quality and accept what they can afford—even if that means missing the subtle sounds, nuances, and communication that keep us connected to others. That outcome kickstarts a domino process with far-reaching emotional, physical, and social impacts; hearing loss doesn’t happen in a vacuum, and, according to Keefer, it can damage our physical condition, relationships, and more.

Readers will find a wealth of information here, with useful guidance and handy tips, whether Keefer’s outlining the different types of hearing aids and their costs, reviewing the new technology transforming the field, or reminding readers there’s a glimmer of hope: “you are not alone,” he comforts, and “with the right treatment, [you can] experience an improved quality of life with hearing aids.” Keefer closes with real life stories of individuals with hearing loss, professionals in the field, and resources to champion change.

Takeaway:Informative call-to-action for the effective treatment of hearing loss.

Comparable Titles: Keith N. Darrow’s Stop Living In Isolation, Bella Bathurst’s Sound.

Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: A

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A feat of research revealing fascinating textures of life, faith, and the building of community in 19th century America, this first volume of McCormick’s historical study focuses on the establishment and growth of the New Church—inspired by the teaching of Swedish theologian/philosopher Emanuel Swedenborg Swedenborgians—of Frankford, a village just north of Philadelphia. As McCormick’s title suggests, the denomination emphasized good works, and her narrative of the church’s development mirrors that of Frankford (and what we now think of as greater Philadelphia) itself. From the start, public spirited Swedenborgians of the New Jerusalem Society of Frankford, many of them immigrants from England, involved themselves in charitable efforts, relief organizations, and the societies, associations, and businesses that shaped the still-young nation.

McCormick’s telling, covering the better part of a century, boasts both sweep and depth. Early Frankford Swedenborgians like Maskell Carll, the first minister of The First New Jerusalem Church in the City of Philadelphia, and “humble instruments” like Thomas Seddon found success preaching “Swedenborg’s doctrines to working-class people,” forging “an independent religious path, born of diversity and imbued with an ecumenical vision” and emphasizing a spiritual sense of scripture as well as “local activism to generate ‘happiness’ and community betterment.” McCormick notes that the faith was often misunderstood, and accounts of theological controversies, schisms, and occasional outside pushback will fascinate scholars of American faith.

The story of the Swedenborgians reflects the story of the nation itself, as McCormick’s rich chapters, each covering a half decade or so, explore local impacts of national news and politics, as well as local and community issues. The narrative draws deeply on local publications, digging into customs, the practicalities of community-building, news events like fires and new businesses, and reports on controversies and the Society’s responses, like Rev. B. F. Barrett’s 1866 sermon in support of desegregating Philadelphia streetcars. The level of detail is likely too granular for readers of pop histories, but McCormick offers a feast of insights, connections, and revelations.

Takeaway: Richly detailed history of Swedenborgian Christians near 18th century Philadelphia.

Comparable Titles: Marguerite Block’s The New Church in the New World, Harry C. Silcox and Frank W. Hollingsworth’s Northeast Philadelphia.

Production grades
Cover: B
Design and typography: A
Illustrations: A
Editing: A
Marketing copy: A

Click here for more about Charity, Change, and Community: Frankford's Swedenborgians and Their Circle; Volume I: 1817 - 1875

Greene’s third book in her Everyone’s Included at the Animal Party series (after The Little Girl Learns About Patience & Imagination) takes on the weighty topics of boundaries and body safety, as Little Bear learns how to play safely with his forest friends. “New to life [with] so much to explore,” Little Bear is delighted and bursting with energy to investigate the world around him, but that same zip that makes him so much fun to be with can get in his way, too. When a playdate with his friend Turtle ends with a cannonball gone awry, he learns the hard way why careful play is so important.

The theme is complex, but Greene skillfully simplifies it, offering reflection questions adult readers can use to guide discussion. As Little Bear practices interacting with his environment, a wise Frog serves as his mentor, prompting him to consider the impact his behaviors can have on others—a process that Greene mirrors through the adult-centered questions included throughout. When Frog explains the tangled concept of boundaries to Little Bear, adult readers are encouraged to have kids brainstorm boundaries Turtle can set in their play; when Frog details the “Animal Party Pact” of respecting others’ physical boundaries, adults are given prompts that explore why it’s crucial to ask others before touching them.

K.K.P. Dananjali’s brightly hued, entertaining illustrations bounce readers through a colorful, inviting world that, though sprinkled with some hefty learning moments, is a celebration of how exciting life can be with just a little forethought. Little Bear’s a quick learner, and he and Turtle eventually reunite with their other pals for a boisterous, pool-splashing romp that kids will love. Greene closes with a list of the top five body aware rules for young readers to master, alongside a gentle reminder that “when we’re having fun, our bodies should feel safe too.”

Takeaway: Delightfully crafted lesson on boundaries and safe play.

Comparable Titles: Jenny Simmons’s I Can Say No, Emily Nelson’s Can I Give You a Squish?.

Production grades
Cover: B
Design and typography: A
Illustrations: A-
Editing: B+
Marketing copy: A

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Johnson’s second West Virginia-set Mountaineer Mystery (after Moonshine Messiah) features Jasper County’s first female sheriff Mary Beth Cain, reinvestigating a cold case at the insistence of her son Sam, who has been inspired by a mystic. Maria Ruiz—granddaughter to Guadalupe, former housekeeper to the Cain family—disappeared without a trace several years ago. Mary Beth discovers her remains thanks to clues provided by the mystic and help from her deputy, Izzy Baker. She suspects the involvement of Maria’s ex-boyfriend Pedro Kowalski, now an orthopedist, but forensic analysis reveals a strand of hair on Maria’s remains, which leads Mary Beth to convicted criminal Octavio Silva, who reveals the involvement of Raul, Pedro’s brother, a former drug peddler. But Raul, after ratting on his cartel, has now fled to Mexico.

Narrated in breezy, conversational language with much local color, the novel is fast-paced, with action that never lets up, bringing life to a milieu of Waffle Houses, gravel roads, ramshackle wooden bridges, and bars specializing in bikini bull riding. Though on the outside Mary Beth is a hardened law enforcer, her own vulnerabilities regarding her son Sam, her confused loyalties and feelings of guilt regarding her late husband and some family members make her human and fallible, while her dialogue—calling a prosecutor “Boss Hogg,” for example—is charmingly expressive of her region. Izzy is a good sidekick to Mary Beth, restraining her when required and backing her up when the situation demands. Apart from the two, Princess, Izzy’s wife, and Sam, prove especially engaging, the kind of characters who reward readers over series installments.

Johnson’s story will test Mary Beth, with some personal complications at times seeming to keep her from seeing the truth of key matters—in fact, seasoned mystery readers might be able to guess at some secrets she misses long before the reveal. Still, this thriller is a brisk, tense read, pulsing with character, and it will hold reader interest till the last page.

Takeaway: A West Virginia county’s first female sheriff takes on an engaging cold case.

Comparable Titles: Julie Ann Lindsey’s Apple Cider Slaying, Rita Herron’s The Silent Dolls.

Production grades
Cover: B+
Design and typography: A
Illustrations: N/A
Editing: B
Marketing copy: A

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Morgan’s third novel illuminates the bold life and struggles of Anne of Brittany as the 15th century gave way to the 16th. Orphaned at 11, Anne inherits the feudal duchy of Brittany, situated between French Provinces, the Atlantic Ocean, and the English Channel, from her father and fights to be recognized as the de facto ruler. Though betrayed by her guardians, Madame de Dinan and Marshal de Rieux, who, plot to get her married to the obnoxious Alain d’Albret, Anne refuses to be cowed, thwarting d’Albret’s self-interested schemes. In a clever counter move, she dares to have herself crowned and declares her opponents, rebels. But life and love remain complicated, and for Brittany’s welfare she is forced to marry by proxy Maximilian, King of the Romans, who promises to be there as Anne and Brittany face the direst of times.

Morgan’s language evokes an ambience of the gated cities, ducal castles, courtly intrigue, “plump ruddy prince”s, conjuring rich detail without diminishing narrative momentum. Among the host of characters peopling the pages, the maternal figure Madame de Dinan, Anne’s gouvernante, stands out, offering support but perhaps uncertain loyalty. These only add to the demands made on Anne seem impossible. As a pre-teen, she shows remarkable courage and intelligence in thwarting the underhand moves of people whom she believed she could trust. Though her love for her land is idealistic, she exhibits pragmatism in her decisions about marriage.

The pace of the novel remains brisk to the end, even as Morgan’s research and her deep knowledge of the era and obvious love for her subject shine throughout. The curious custom of marriage by proxy will fascinate and amuse contemporary readers, but the fact that marriage itself was often rooted in political considerations among the ruling elite is explored without 21st century judgment. Morgan blends fact and fiction seamlessly and the result is an authentic story of a strong woman ruler determined to defend her right to rule and face the challenges of her situation.

Takeaway: Brisk, involving historical novel of Anne of Brittany, protecting her duchy.

Comparable Titles: Rozsa Gaston’s Sense of Touch, Tracy Chevalier’s The Lady and the Unicorn.

Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A

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McCarthy (author of Dancing Near the Edge) joins past and present in this bittersweet, irony-touched historical romance. Drawing its inspiration from the real-world phenomenon of lovesick people penning letters to the tragic heroine Juliet, Anna’s Shadow centers on 2005 Verona, where Juliet’s Letter Club responds to missives from heartbroken and long-lost lovers. Sofia is a Canadian-Italian orthopedic surgeon taking time away from her life as a volunteer for Doctors without Borders after enduring a romantic tragedy of her own. Not long after beginning service as one of Juliet’s secretaries in a Verona of bistros, disgetivos, and delectable bombolones, she is intrigued by a letter asking the Club to help an old man, Luke Miller, find Anna Bissoli, an Italian woman he fell for after one fleeting encounter at the end of World War II.

This collision with history will change not just Luke’s life, and McCarthy keeps the tension (and the feels) at a strong simmer as Sofia, like readers, gets caught up in the story. The setup is emotionally complex: Luke—then Lukas—had been a German soldier, just 18 years old, in occupied Verona, and Anna a resident hiding under her bed as his unit searched her house. Boldly, he chose not to reveal her to the other Germans, but he never saw her again. In the present, Sofia and her family dive into the case, striving to find Anna and answer questions that have haunted Luke.

The end of World War II is brought to vivid life as McCarthy balances the timelines of Sofia’s 2005 and Luke’s 1945, with storytelling that emphasizes sleuthing and history. Sofia’s own story, of healing and self-discovery, never compels as much as the beautifully narrated tale of Luke and Uwe, Luke’s oldest friend and mentor, which reveals just how unpredictable life can be. Readers will appreciate, though, how McCarthy’s attention to telling detail never slows narrative momentum.

Takeaway: Romantic historical mystery of love lost and found in the aftermath of a world war.

Comparable Titles: Jillian Cantor’s In Another Time, Laura Nowlin’s If Only I Had Told Her.

Production grades
Cover: A-
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A

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Lamberson (A Grave Invitation) creates a funny, profane, occasionally disgusting, ultimately humane SF adventure that takes fish-out-of-water tropes and turns them into an epic rock-and-roll rescue story where almost everything goes wrong. Youngish protagonist Garton Prog is regarded as the sole remaining human left alive after a mission from Earth to Alpha Centauri. Coddled by his adopted family after his own parents died, Prog indulges in rock star fantasies amid a variety of alien races mostly uninterested in Earth music.

Undaunted, he assembles a makeshift band (and chosen family) for potential gigs. Then he hears a life-changing rumor: another human, on a moon that's a lawless den of vice, being held captive by a brutal criminal who has sinister motives. That spurs a highly unlikely, amusingly ludicrous, and frequently lethal chain of events as Prog hires a vicious but principled criminal to guide him and his friends on a seemingly doomed rescue mission. Amidst befouled space cruisers that crash before even leaving the atmosphere, teleporters that might kill you, enemies everywhere, and a murderous, clone-hungry villain in the monstrous Croakus, Prog labors to protect not just his life but his sanity.

Written as the first volume of a potential series, Lamberson leaves some loose ends but brings this story to a satisfying end, though sometimes at the cost of having his hero get lost in the shuffle of so many colorful characters. Narratively, Lamberson switches perspective with each chapter in the second half, deepening characterization while sometimes slowing the momentum, but then he cleverly flips this technique by advancing the plot in surprising ways before rewinding to tell the story from a different point of view. Despite some proudly ridiculous story beats and the exaggerated comic features of many alien characters, Lamberson takes care to pay close attention to their feelings and individual personalities, while spinning a gripping story. Lamberson refusing to bow down to action cliches elevates the novel from a wild lark into something with more depth.

Takeaway: Teen angst, heavy metal dreams, and madcap science fiction escapades.

Comparable Titles: Jim C. Hines’s Janitors of the Post-Apocalypse series, Dennis Taylor’s Bobiverse series.

Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A-
Marketing copy: A

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Cole sparkles in this meticulously researched young adult novel, her first foray into historical fiction, about a Soviet/Ukrainian clash at the hands of the feared Soviet leader Joseph Stalin. In spring 1931, 13-year-old Oksana Kovalenko is loving life in her Ukrainian village, working the family farm with her parents and older brother Peter and spending as much time as she can with her best friend, Anya. A chill runs through the village when Stalin’s army invades the tiny town, forcefully steal farms and systemically starve the villagers. As former friends betray each other to receive tiny portions of food, morale plummets—but so does the quiet heroism of resistance.

Cole evokes this fraught, frightening era with an eye for the telling detail, especially the “traditions and simple way of life” in Oksana’s village and how the Bolsheviks trample them. Historical context never slows the narrative, however, and Cole’s inventions, especially her characters’ choices and desires, make the past feel urgent for contemporary readers as they become engrossed by the injustices meted out by the cruel Soviet regime and its intense effort to erase Ukrainian culture. She also aptly demonstrates how war and persecution can drive difficult decisions, especially when Oksana’s friend Anya and her father Grigori join Stalin’s organizations in an effort to survive the conflict and not go hungry, even when Grigori plays a part in arresting Mikhail, Oksana’s father.

When Cole recounts the persecution and torture of Mikhail, and Dymitro, the town’s elderly baker, the unflinching details can be hard to stomach, and readers will feel the ache of hunger and despair right along with the characters. The story is all the more poignant given the ongoing war between Russia and Ukraine. While this expertly crafted tale may be geared for a younger audience, readers of any age should take Cole’s wise points to heart.

Takeaway: Heart-wrenching, meticulously researched tale about the Ukrainian Holodomor.

Comparable Titles: V

Production grades
Cover: A
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A

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Treadgold’s Fallen Man series, which has followed the romantic lives of the wealthy O’Connell family of Washington state’s Port Townsend, comes to a satisfying end in this final entry, bringing everyone together and tying up the strands of the earlier stories. Edward O’Connell has quietly left the Catholic priesthood and his Philadelphia parish, moving from celibacy to sexual profligacy. During a Thanksgiving visit to the family compound built by his musical superstar brother Joe, Edward becomes smitten with Lisette Manegold, the proprietress of a local restaurant, but soon discovers her reputation with his family, though limited, is less than stellar.

Though previous series entries work as standalone romances, and Treadgold offers context here for new readers, this climactic volume really targets readers of the whole series, structured as a family soap opera in which Edward and Lisette’s relationship is often sidelined to the follow ups for David, Maddie, and Liam’s movie pursuits, Ali and Liam’s drama about their addicted birth mother, and the return of the distasteful but still compelling yoga guru Kilo. The connection between Lisette’s past and the current O’Connell dramas overshadows the romantic story arc. Edward’s church backstory is shared almost entirely in exposition, so its emotional impact is lessened, and his disclosure of psychic predictive powers would feel more surprising if not for the family’s other supernatural gifts.

Still, the cast and holiday setting are presented with a casual mutual warmth, and the overall impression is an appealingly fuzzy one of a family coming together with love and mutual support, despite their wide disparities in life paths and backstories. Treadgold’s deep affection for her characters and understanding of their hearts, quirks, and concerns will reward fans of the series, though this entry isn’t a jumping-on point. Readers wanting more from protagonists of earlier installments get plenty of it, and overall the series comes to a satisfying conclusion.

Takeaway: Reunions, romance, and a warm holiday vibe power this series ender.

Comparable Titles: Lydia Michaels’s Almost Priest, Nora Roberts’s The MacKade Brothers series

Production grades
Cover: B
Design and typography: A
Illustrations: N/A
Editing: A
Marketing copy: A-

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This brief but baggy study from Mohr mounts evidence for an intuitive explanation of the persistent and “staggering” wealth inequality between nations over centuries. Mohr argues that the underlying cause of disparity is temperature, with nations’ position on the globe plus “atmospheric circulation, ocean currents, and local geography” playing key roles in shaping their “various economic and social outcomes,” including GDP, their Human Development Index (HDI), education level, students’ test results, and more. Mohr acknowledges exceptions to this simple but persuasive idea, digging into why a nation like Singapore has developed rapidly while its surrounding nations have not, or why the income gap has lessened between southern and northern regions of the U.S. have in recent decades.

The “revolution” of air-conditioning, Mohr argues, is a crucial driver in these cases, and his case is clear and persuasive. Of course, that comfort comes at a cost, and in a final section Mohr draws on an analysis of numbers of Cooling Degree Days around the world to demonstrate the extraordinary energy expenditure it will take to cool hot regions enough to become competitive. (Mohr is convincing when noting the necessity of air conditioning for growth and stability and the “formidable” challenge of providing it.) Mohr backs up his claims throughout with original analysis of nations’ (and sometimes their inner regions’) per capita GDP, HDI, and other factors, showing his work in easy-to-follow charts, demonstrating that “the availability of conducive academic and working environments where individuals can effectively work and study is crucial for economic development within a society.”

While the major contentions in The Divide of Nations have some persuasive power, the text itself feels padded and repetitive. Mohr explains basic ideas multiple times within a chapter or even a page, and continually identifies the analyses here—which feel like starting points rather than conclusive proof—as “comprehensive.” Still, Mohr demonstrates strong correlations between temperature and the strengths of nations’ institutions, and his crunching of numbers offers some understanding of why.

Takeaway: Original study arguing that wealth disparity between nations comes down to temperature.

Comparable Titles: Daron Acemoglu and James A. Robinson’s Why Nations Fail, Branko Milanovic’s Global Inequality.

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